United Kingdom (May 22, 2007)–The late actor Spalding Gray used to have a paranoid mantra about general symptoms of illness: “You name it, you claim it.” That probably wasn’t the impetus behind the title of the popular UK three-day festival Give It A Name, but even if it had been, it wouldn’t have stopped thousands from coming out recently to see bands in three different major venues simultaneously–with each venue sporting a Nexo Geo T rig.
A Nexo Geo T line array with new software rocks the kids at the UK’s Give It A Name Festival.SSE Audio Group supplied three identical systems for the weekend-long event, with crews going to Earls Court London, the NIA Birmingham and the SECC Glasgow. Each system comprised left/right hangs of 23 Nexo Geo T4805 plus a trio of Geo T2815s, with a center cluster of five Geo T cabinets, and a dozen CD18s each side. Fed by a pair of Midas Heritage 3000s out front, the crews were working to keep to a schedule with 5-minute changeovers.
It was necessary, with a jammed line-up at each venue. More than 25,000 people came to Earls Court alone for a bill dominated by pop-punk and emo bands like H.I.M from Finland, Brand New and Juliette & The Licks from the USA, and Enter Shikari from the UK. There, engineers Alex Hall and Matthew Kettle were on hand to babysit and to mix a few bands themselves.
Kettle has made extensive use of Nexo’s flagship tangent array system on several tours with The White Stripes, and seemed upbeat about the revitalised Geo T system: “Personally, I was extremely impressed. I always find it easy to mix on Geo T, and frankly I am surprised that Nexo has found a way to improve it! With the new software, the high end of the Geo T sounds even better than it was before, you can hear lots of headroom, and I was really pleased by the way the system and the subs sat together.”
For some of the engineers, mixing for relatively new bands, this was the first chance they’d had to mix on a full-size festival system. Says Kettle, “it’s quite funny to watch people mix for the first time on a transparent line array. It just gets louder as they turn it up, expecting it to distort, and it never happens! We kept the system at 104dBA (at FOH) most of the time, and the majority of engineers appeared quite comfortable mixing at that level; it’s a good sign when rock engineers are happy with that. We were able to hang nice long lines of Geo T, which is when line arrays sound best; you get more coverage without having to work the cabinets too hard.” All systems were powered by Camco’s Vortex 6 amplifiers.